Sylvia Salisbury

Papaver Somniferum presentation

Papaver SomniferumThese painted panels tell the story of the cultural impact of the opium poppy. Told from the contemporary perspective they have a documentary narrative, and address post-colonial and post orientalism too.They are arranged here to be read from left to right, starting with the labels as the introduction, then the panels as the content and the book as the summary.The linear arrangement of dark panels follow this documentary style by having the appearance of a roll of film.

Each panel addresses a particular aspect of the cultural impact:emblematic; medical; warfare; trade & commerce; art &

literature; sleep; and finally, addiction.

Construction:The panels are backed by a mitred wooden frame

Mixed mediaThe panels provide a secure base for a range of mixed media.

This includes gilded hypodermic needles. The gilding is a visual reference to gold, and by extension value and money.

By using collage onto paint, there is a juxtaposition of the everyday tangible world layered onto the painted, rather more covert background.

The background provides a space for some of the complexities of each aspect.

The book of accompanying poetry. Art and poetry created in the same space. The words are my distillation of the issues that surfaced in the research for each panel, and of my feelings that arose during that

time.

Research, resources and influences:

The research took the form of considering the work of many artists who addressed similar topics, used mixed media or collage. At the same time I looked into news and media articles as well as books such as: The Poppy. A Cultural History from Ancient Egypt to Flanders Fields to Afghanistan by N.J. Saunders, and Seven Flowers. And How They Shaped Our World by Jennifer Potter.

Most notably amongst these were Fiona Foley, for her work on the impact of opium on the Australian aboriginal population, Black Opium, (2006) and the High Society exhibition at the Wellcome Collection. (2011)

I also took inspiration from Chris Ofili, for his use of mixed media incorporating political images; Sue Coe, and Faith Ringgold for her use of fabric to convey her message.

Additionally, I looked at artists who had accompanying poetry, including those by Emanuel E. Garcia.

Surprises during research

One of the surprises that came was the use of the white poppy as the emblem for the Peace Pledge Union.

It is contentious in the UK, but much less so in Canada.

PoetryRemembrance Garden

Sit in the garden and while away the hours,Surrounded by the nodding poppy flowers,White poppy, red poppy, growing side by side,For those swept away like sands beneath the tide.

Remember them, perchance you sit awhile and pause.For those who gave their all for their cause.Red poppy, we remember they who died in war,White poppy, hoping there’d be no more.Red poppy, white poppy, worn in the lapel,For those whose eyes have seen an earthly Hell.

Will we ever learn to find some other ways?To settle out our differences, and hear what the other says?Oh wouldn’t it be grand, To see that other as your brother, and extend a helping hand.

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Mancoff, D. N., 1988. The Pre-Raphaelite Language of Flowers. 1st ed. London: Prestel Publishing Ltd.Manie, A., 2012. Mixed Messages. The Versatility of Collage. London: A & C Black Publishers.Martin, R. & Thurstan, Meriel, 2008. Contemporary Botanical Illustration with the Eden Project. London: Batsford.Potter, J., 2013. Seven Flowers And How They Shaped our World. London: Atlantic Books Ltd.Saunders, N. J., 2013. The Poppy. A Cultural History from Ancient Egypt to Flanders Fields to Afghanistan. London: Oneworld Publications.Walpole, J., 2006. A History and Dictionary of British Flower Painters 1650-1950. Sandy Lane, Old Martlesham, Woodbridge: Antique Collectors'Club.Yeates, S., 2011. Learning Linocut. A Comprehensive Guide to the Art of Relief Printing through Linocut. Sandy: Bright Pen.